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Farocki: A Filmography 333 Die Arbeit mit Bildern. Eine Telekritik von Harun Farocki director, scriptwriter Harun Farocki editor Marion Zausch graphic artist Franziska Scherer production manager Wolfgang Kreck production WDR, Köln executive producer Kurt Zeimert TV-producer Angelika Wittlich length 44 min. (25 b/s) format 16 mm, col., 1:1.37 first broadcast 8.11.1974, West 3 1975 Über ‘Song of Ceylon’ von Basil Wright director, scriptwriter Harun Farocki editor Marianne Müller-Kratsch narrator Harun Farocki production WDR, Köln executive producer Kurt Zeimert length 25 min. format 16 mm, b/w, 1:1.37 first broadcast 07.10.1975, West 3 quotations from films Song of Ceylon (Basil Wright, GB, 1934) note commissioned for the TV series ‘Telekritik’ Erzählen director, scriptwriter cinematographer assistant cinematographer editor sound production manager Harun Farocki, Ingemo Engström, based on texts by Walter Benjamin, Brothers Grimm, Franz Kafka, Jurij M. Lotman, Boris Pasternak, Cesare Pavese, Alfred Sohn-Rethel, Sergej Tretjakov, Franz Carl Weiskopf Axel Block Chris Strewe Erika Kisters, Birgit Schuldt Karl-Heinz Rösch Renate Sami
334 Harun Farocki cast Avinho Barbeitov, Ingemo Enström, Harun Farocki, Hanspeter Krüger, Willem Menne, Karl Retzlaw, Otto Sander, Hanns Zischler production WDR, Köln producer Harun Farocki length 58 min. format 16 mm, 1:1.37, b/w first broadcast 16.12.1975, West 3 1976 Die Schlacht. Szenen aus Deutschland director, television adaptation cinematographer video technician editor sound set designer costume designer make up production manager cast Harun Farocki, Hanns Zischler, based on a stage play by Heiner Müller Jupp Steiof Peter Schlögel Lilo Gieseler Hans Joachim König Walter Hallerstede Brigitte Schünemann Horst Mühlbrandt Erwin Dräger Marie Bardischewski, Ulrike Bliefert, Lili Schönborn-Anspach, Gisela Stein, Joachim Baumann, Peter Fitz, Otto Mächtlinger, Willem Menne, Hubert Skolud and others SFB, Berlin-West Jürgen Tomm Martin Stachowitz 52 min. production TV-producer executive producer length format 2-Zoll-MAZ, col., 1:,1.37 first broadcast 10.05.1976, Nord 3
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FILM CULTURE IN TRANSITION Harun Fa
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Harun Farocki Working on the Sightl
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Contents Introduction Harun Farocki
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Contents 7 From the Surveillance So
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Harun Farocki: Filmmaker, Artist, M
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Image In(ter)ventions
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44 Harun Farocki perpetual state of
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46 Harun Farocki missing, and Bauma
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48 Harun Farocki the status of an a
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50 Harun Farocki Becoming Interchan
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52 Harun Farocki tory. The techniqu
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54 Harun Farocki 5. Conny Voester,
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56 Harun Farocki imparted and secur
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58 Harun Farocki ing oriented to an
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60 Harun Farocki tion of work, and
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62 Harun Farocki temporal one, beca
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64 Harun Farocki act: a twofold tho
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66 Harun Farocki these temporalitie
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Passage along the Shadow-Line: Feel
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78 Harun Farocki dance competitions
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80 Harun Farocki [W]hy does dramatu
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82 Harun Farocki cannot know how th
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84 Harun Farocki if today televisio
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86 Harun Farocki managed to maintai
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88 Harun Farocki there in a pinstri
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90 Harun Farocki off his cap, pulls
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Between Wars, Between Images
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96 Harun Farocki by Alfred Sohn-Ret
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98 Harun Farocki ‘disappears from
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100 Harun Farocki cal perspective).
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102 Harun Farocki Farocki’s film
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104 Harun Farocki Voice of Robert:
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106 Harun Farocki rents out a cinem
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Dog from the Freeway Harun Farocki
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Dog from the Freeway 111 In the win
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Dog from the Freeway 113 however, d
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Dog from the Freeway 115 The spark
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Dog from the Freeway 117 This wisdo
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Dog from the Freeway 119 The villag
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Dog from the Freeway 121 peace, the
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Dog from the Freeway 123 MACV NLF P
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Dog from the Freeway 125 there is b
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Dog from the Freeway 127 published
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Dog from the Freeway 129 thought of
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Dog from the Freeway 131 ‘For rea
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Political Filmmaking after Brecht:
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ack to the 1960s is necessary, when
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The Road Not Taken: Films by Harun
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164 Harun Farocki with Peter Nestle
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166 Harun Farocki why were there so
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168 Harun Farocki thus strikes at t
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170 Harun Farocki shard that finall
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172 Harun Farocki In the laboratory
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174 Harun Farocki This is, of cours
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Making the World Superfluous: An In
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Reality Would Have to Begin Harun F
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Reality Would Have to Begin 195 The
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Reality Would Have to Begin 197 the
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Reality Would Have to Begin 199 in
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Reality Would Have to Begin 201 roo
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Light Weapons Tom Keenan ... Scan F
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Light Weapons 205 pressed together.
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Light Weapons 207 ment’s opening
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Light Weapons 209 3. The image is a
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The Political Im/perceptible: Faroc
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Film: Media: Work: Archive
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238 Harun Farocki 1895, the Lumièr
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240 Harun Farocki Metropolis (1927)
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242 Harun Farocki worst acts of vio
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On Media and Democratic Politics: V
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Towards an Archive for Visual Conce
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Page 282 and 283: Towards an Archive for Visual Conce
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Page 286: From the Surveillance Society to th
Page 289 and 290: 290 Harun Farocki more important to
Page 291 and 292: 292 Harun Farocki breastplates, and
Page 293 and 294: 294 Harun Farocki tive’ nuclear o
Page 296 and 297: Nine Minutes in the Yard: A Convers
Page 314 and 315: Harun Farocki: Critical Strategies
Page 322 and 323: Acknowledgements The editor wishes
Page 324 and 325: Farocki: A Filmography 1966 Zwei We
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Page 334 and 335: Farocki: A Filmography 335 1977 Ein
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Page 348 and 349: Farocki: A Filmography 349 Kinostad
Page 350 and 351: Farocki: A Filmography 351 1992 Vid
Page 352 and 353: Farocki: A Filmography 353 awards n
Page 354 and 355: Farocki: A Filmography 355 Das Thea
Page 356 and 357: Farocki: A Filmography 357 Stillebe
Page 358 and 359: Farocki: A Filmography 359 length 6
Page 360: Farocki: A Filmography 361 2002 Eye
Page 363 and 364: 364 Harun Farocki search fellowship
Page 366 and 367: Index of Names Achternbusch, Herber
Page 368 and 369: Index 369 Ernst, Wolfgang 37-38, 26
Page 370 and 371: Index 371 Lumières, Auguste and Lo
Page 372: Index 373 Truffaut, François 82, 3
Page 375 and 376: 376 Harun Farocki Das Prinzip Hoffn
Page 377 and 378: 378 Harun Farocki Nick’s Film - L
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